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New York, New York; it’s the colossal cultural mosh pit. And being bombarded from left, right and centre by ethnicities, strung together through a shared appreciation of bagels, pizza and Eggs Benedict has been key to the ethic of low-end troubadours, Trouble & Bass. Conceived from the wild raver roots of the warehouse party, Drop The Lime (Luca Venezia) and co. blend multiple genres and sounds from around the world because so many nations have merged on their own doorstep. “I love the fact that the city never sleeps. You can find something to do at midnight, find an amazing meal at 4am or find some after-hours spot playing music at 7am. Basically, Trouble & Bass is about a raw attitude, punk rock approach to dance music.”

So, stripped of genre limits, T&B begun to piece together their own montage of the city, getting the ball rolling on a joint venture with UK label Adaadat; five hundred white label copies of Drop The Lime’s own dubstep-induced ‘Bricks’ and the grimy nuances of ‘Slamdance’ by Math Head in 2006. Influences from early releases on Tempa and the old school raving scene were apparent straight off the bat.

On his introduction to the raucous sounds bubbling up over in the UK at the time via revered names such as Pinch and Loefah, Luca points out: “There was always that UK influence from grime and dubstep (even before dubstep had a name), then we mixed it with southern US hip-hop, techno and house, so we just made our own label because no-one else wanted to release it.”

That same aesthetic powered the idea of their monthly parties that after years of hangovers and drunken dancing had began to stamp its identity on Philadelphia and Washington DC as well as New York. Yet, a recent break has brought them from those three-thousand-capacaity highs back to the sweatdripping walls of their early warehouse-based festivities.

“We needed to step back because I feel that once a crew hits about five or six years [of being together], they need to reassess their path and rebrand. Almost just to remember what we were doing in the first place.”

That revert back to their raw and organic stages of existence has proved profitable with releases like February’s Tony Quattro joint bursting at the seams with straight up partying vigour. Aptly entitled ‘New York Anthem’, it sports bombastic horns atop a contagious 4/4 workout template; perfect for fist-pumping your way through the midnight hours before your actual memories of it seep away the next morn. Next comes a collaboration with T&B UK reps, Plastician and Shox, called ‘Renegade Sounds’ and with the parties looking to head over to Europe soon too, it’s looks like there’s plenty of late night marauding to come.